Adobe lightroom cc and photoshop cc for photographers pdf free.Adobe Photoshop Lightroom

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

Learn how Photoshop can take your vision further by using tools that enhance your work in Lightroom. Finally, you’ll learn how Lightroom and Photoshop work hand in hand to give you the most powerful creative tools for your digital photography. The fastest, easiest, most comprehensive way to learn Adobe Photoshop Lightroom in conjunction with Adobe Photoshop.

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Learn more how customers reviews work on Amazon. Increase Feather as necessary to make the changes blend into surrounding pixels a little better. Happily, Lightroom also lets you switch between Heal and Clone modes while a pin is selected. You can try this on your own by removing the tour- ists from the lower-left corner of the Pompeii ruins exercise file. The same thing happens with split-toning, wherein you add a color tint to the correct to your liking.

Also useful for creating a unique look is hand-tinting, wherein you manually add color back to a black-and- white photo.

Because these effects become permanent in the photo that Photoshop returns to Lightroom. Read on for some serious creative color fun! You can use this panel to easily adjust the hue, satura- changing the colors in tion, and lightness think brightness of a particular range of colors wherever those a photo.

However, to precisely change the colors occur in the photo. In the Snapshots panel, Photoshop. Notice the subtle differences between how to do that. In the resulting dialog, enter Desaturate into the name field, and turn on Color, which turns on Saturation, Vibrance, and Color Adjustments. That way, you photo itself. E Tip: If parts of the photo that you want to remain black and white return to color, use the Adjustment Brush tool set to — Saturation and then brush over those areas to desaturate them.

To create a split-tone, follow these steps: 1 Select the female hula photo in the Filmstrip. For a sneak peek at color tinting, select Snapshots 1 and 2. Notice the different emotional feel between these versions. P Note: This photo was made from a combination of multiple exposures for a high dynamic range HDR effect. In the Shadows section of the panel, drag the Satu- ration slider rightward to around 50 or so, and then drag the Hue slider slightly rightward to a brown color say, Leave Size at 25, and then experiment with Roughness to produce the look you want.

Feel free to take a spin through them. This gives the shadows a brown tint. If you drag the Amount slider all the way left to —, you get a black frame effect instead.

That said, you can save images with transparent backgrounds in Photoshop. So if a transparent background is your goal, create the rounded corner effect in Photoshop say, by using the Rounded Rectangle Shape tool and a layer mask instead of in Lightroom.

This is an easy way to apply two vignettes to a single photo. To do it, set Saturation to around —47, set Sharpness to —, and turn off Invert Mask. Drag atop the car to add the filter, and then rotate it slightly. The resulting photo not only has a believable retro feel, but it also has a tilt-shift or toy-camera look due to the blurring of the background. Tinting a photo with color by hand E Tip: This technique Last but not least, there may be times when you want to recolorize a black-and- works for adding digital white photo.

Follow these steps to makeup to a color do that: portrait too! At the top of the panel, double-click the the steps in the Lesson Effect label to reset all the sliders. In the resulting color picker, choose a color for the sky, such as light blue. If you go that route, use 4 Mouse over to the photo, and paint across the sky area. To do that, click the existing pins, and click the Color field near the bottom of the Adjustment Brush panel.

Click the Color rectangle, and then pick a color for the edges of the trees. Keep repeating these steps to colorize the entire photo. Hand-tinting by Jack Davis, wowcreativearts. Saving metadata to files Once you finish editing some photos, you may want to save those edits in the files themselves.

Saving metadata to a file also acts as an insurance policy—it protects you from losing your changes if a photo and its metadata are inadvertently removed from the Lightroom catalog or if the catalog itself becomes corrupted or lost. Because Lightroom saves the metadata to your file every single time you touch a slider.

If so, with what tools? Review answers 1 The Graduated Filter tool. To do that, select the appropriate adjustment pin and then drag it to another position in your photo. To do it, set the Sharpness slider to — You can use the Post-Crop Vignetting sliders in the Effects panel to pro- duce rounded edges by dragging the Roundness slider all the way left, and then you can add a white background by dragging the Amount slider all the way right.

If you drag the Amount slider all the way left instead, you get a black background. In fact, this may be one of the most important lessons in this book because it covers the mechanics of a typical roundtrip workflow between Lightroom and Photoshop.

Happily, you have to adjust these settings only once. You can control file format, bit depth, color space— all of which are explained in this section—as well as file naming conventions and how the Photoshop files are displayed back in Lightroom.

Setting your primary external editor preferences Lightroom automatically scours your hard drive for the latest version of Photoshop P Note: Adobe and picks it as the primary external editor.

Bit depth refers to how many colors the image itself contains. The goal is to keep as much color detail as you can for as long as you can. In the infographic shown here, the ProPhoto RGB workspace is shown in white with the other workspaces superimposed atop it.

This is the RGB workspace that Photoshop uses unless you pick another one. The CMYK workspace, on the other hand, represents the smaller number of colors that are reproduc- ible with ink on a commercial printing press. The bottom image shows the ProPhoto RGB workspace compared to the color gamut of the truly incredible human eye.

ProPhoto RGB vs. Raw images, on the other hand, can be bit and contain over trillion colors. P Note: PPI stands for pixels per inch.

DPI, on Resolution determines pixel density and thus pixel size when the image is the other hand, stands printed. Leave it at ppi, which is a reasonable starting point for a typical for dots per inch. The inkjet printer, and then adjust the resolution as necessary when you export the latter term is used when referencing printers, edited file from Lightroom. Lightroom uses these settings. You can even you can still designate other applications in create additional configurations for Photoshop—each with settings geared toward the Additional External particular kinds of photos or uses.

Editor section and then choose them from the For example, you may set up Photoshop as an additional external editor with second section of the options suitable for photos destined for the web. In the be sure to click the resulting dialog, click Use Anyway. Clicking Use Anyway dismisses the warning and allows you to use the same version of Photoshop—with different settings—as both an additional external editor and the primary external editor both of which are available via a keyboard shortcut.

As mentioned earlier, this keeps the quality you have in Lightroom and supports any layers you create in Photoshop. Editor section to con- 6 Leave Resolution set to its default value. Simply use the resolution, that determine image size.

You can specify pixel dimensions in Preset menu to save each one as a preset. Edit In menu. In the dialog that opens, enter a meaningful name for the expand and collapse a options you configured, such as PS web, and then click Create.

Setting the stacking preference When you send a file from Lightroom to Photoshop, the PSD that comes back to Lightroom appears next to the original file in the Library module. In some cases, you may also generate copies of the PSD—if, say, you want to create different versions of it. To reduce the clutter in your library, you may want to turn on Stack With Original to have Lightroom stack your PSD s into a pile with the original photo.

Doing so creates a collapsible group, known as a stack, of thumbnails. When you expand a stack, your PSDs are displayed side by side in the Library module in Grid view and in the Filmstrip. This makes related files easy to spot. Configuring Adobe Photoshop Elements as an external editor You can configure Lightroom to use Adobe Photoshop Elements as your primary or additional external editor too. The process is roughly the same, but there are a few things to keep in mind.

First, if you have Elements but not Photoshop on your computer, Lightroom auto- matically picks Elements as the primary external editor. Second, if you have both Elements and Photoshop on your computer, you can designate Elements as an additional external editor. To do that, be sure to navigate to the Elements Editor application file, not the alias shortcut in the root level of the Elements Editor folder.

Library module, press T on your keyboard. For the purposes of this lesson, stick with the default file naming scheme. Photoshop Elements as an external editor, With these settings, the files you send from Lightroom to Photoshop should you need to adjust its open in the correct color space.

This flattened layer is what you see in Lightroom. Elements as your external editor, you 3 Click OK to close the dialog. Keeping Lightroom and Camera Raw in sync Lightroom, at its heart, is a raw converter whose job is to convert the data in a raw file into an image that can be viewed and edited onscreen.

Photoshop has a raw converter too: a plug-in named Camera Raw. Camera Raw and Lightroom use the same raw conversion engine, and when Adobe updates one, it usually updates the other with a matching version. This is important because when you send a raw photo from Lightroom to Photo- shop, Photoshop uses Camera Raw to render the raw data into pixels you can see and work with onscreen.

A screen opens that shows your version of Lightroom. Click the screen to close it. Your version of Photoshop appears on the screen that opens. Close the screen by clicking it. Your version of the Camera Raw plug-in is reported on the screen that opens. Encountering a Lightroom— Camera Raw mismatch If you have mismatched versions of Lightroom and Camera Raw installed on your computer, you may get a mismatch warning in Lightroom when you try to send a raw file to Photoshop.

You can then upgrade your software before trying again. A potential downside is that as soon as you click the Render Using Lightroom button in the warning dialog, an RGB copy of the image is added in your Light- room catalog, and it stays there even if you change your mind and close the image in Photoshop without saving. In that case, you now have the extra step of deleting the RGB copy from your Lightroom catalog. When you update Photoshop, you get the latest version of Camera Raw too.

Sending a raw file from Lightroom to Photoshop P Note: You can Once you adjust a raw photo in Lightroom, you may determine that you need to easily send other file send it to Photoshop for some of the pixel-level editing voodoo that it excels at.

CR2 from topic is covered later in this lesson. Canon or an. This section teaches you how to do that. Turn Grid view styles. This gives Lightroom more information about your camera and lens.

However, you may need to experiment with the other buttons on your own photos to see which one works best. This E Tip: In some cases, option often produces the most realistic result. Although this option may pro- adjustment too. You can also use the Transform panel sliders to fine-tune the per- spective correction. Happily, you can easily fill in those areas in Photoshop, as the next section explains, which keeps you from having to crop them out. Any adjustments you made in Lightroom are made more thumbnails and choosing Edit In from permanent in the image that opens in Photoshop.

Of course, your adjustments the resulting menu. You should now see marching ants around the photo itself. The marching ants now appear around the empty corners.

In the resulting dialog, enter 3, and click OK. Ensure that Preserve Transparency is turned off. Click OK, and Photoshop fills the empty corners. In the resulting dialog, enter clone right corner into the name field, and then click OK. Doing so decreases your edit- ing flexibility greatly because the resulting PSD never shows up in Lightroom. You also end up with an extra copy of the image the exported one on your hard drive.

Photoshop document lean in file size. As you brush across the window, a crosshair shows the area that Photoshop is copying pixels from—the window on the left. As long as Lightroom is open and running when you do this, the PSD appears in your Lightroom catalog next to the original photo. The raw file displays the adjustments you made to it in Lightroom before you sent it to Photoshop. The Photoshop file reflects your Lightroom adjustments as well as the filling and cloning you did in Photoshop.

As mentioned earlier, your Lightroom edits are permanent in the PSD file. For example, you may decide to do a bit more cloning in the lower-right corner. Choosing any other option in this scenario will not open the layered PSD. The updated PSD returns to Lightroom with your changes intact. And if you open a copy of the PSD that includes the Lightroom adjustments, you lose the layers you originally made in Photoshop. If necessary, press D to open the Develop module—you may already be in the Develop module—and then open the Effects panel.

Photo credit: Allison Mae, allisonmae. Choosing any other option in the Edit Photo dialog would prevent your Lightroom adjustments from being visible once the file opens in Photoshop. From the panel that appears, click the gear icon, and in the resulting menu, choose Photographic Toning.

Your changes are updated in the PSD that appears in Lightroom. Sending a photo from Lightroom to Photoshop as a Smart Object Another way to send files of any format to Photoshop is to send them as Smart P Note: Adobe Objects, which you can think of as a protective wrapper. When you create snapshots on a raw file, you can access them via the Camera Raw plug-in by sending the raw file to Photoshop as a Smart Object.

In the resulting dialog, enter the name full color and click Create. The photo opens in Photoshop. Click OK to close the Camera Raw plug-in. That said, it bears repeating that this maneuver works only on raw files. Running filters on a Smart Object in Photoshop Another incredibly handy trick you can do when you send a photo from Lightroom P Note: You can to Photoshop as a Smart Object is to run filters nondestructively.

When you use Smart Filters, as this is called, the filter appears in your Layers panel beneath the Smart Object layer. Click OK. Keep Threshold as low as possible but high enough to preserve the skin texture. When you do, white corner brackets appear around the mask. In the realm of masks, black conceals and white reveals. By filling the mask with black, the filter is hidden from the entire photo. In the Options panel at the top of the Photoshop workspace, click the brush preview, and choose a soft-edge brush one that has fuzzy, soft edges.

Click the brush preview icon again to close the panel. Press the Left Bracket [ to decrease brush size or the Right Bracket ] to increase it. As you can see in this before Scratches filter trick is also a great way to left and after right version, this filter made a big difference in the portrait. Back in Lightroom, the PSD appears next to the original raw file. If you determine that you need to reopen the PSD for more editing, follow the instructions in the previous section.

Lightroom asks what options you want to open the image with: file format, color space, and so on. The end result is an additional file in your catalog. In addition to configuring the primary external editor, you can set up additional configurations for the same editor, or a different one, in the Additional External Editor section.

If you create snapshots for a raw file and then send it to Photoshop as a Smart Object, you can double-click the Smart Object in Photoshop to open the Camera Raw plug-in. Other common reasons to combine photos are to merge multiple exposures into a high dynamic range HDR image or to stitch several photos together into a panorama, which you can easily do in Light- room.

Photoshop also has a few tricks you can use to produce an HDR look from a single photo. Having each photo on a separate layer gives you a lot of editing flexibility because you can control the opacity of, resize, and reposition each layer individually to produce the effect you want. You can also control the way color behaves between layers to produce interesting blending effects. The next section teaches you how to use one photo to add texture to another photo.

Adding texture to a photo using another photo An easy way to add texture to a photo is to blend it with another photo. You can use nearly any photo for the texture, including shots of nature, a rusty piece of metal, concrete flooring, marble, wood, and so on.

How handy is that! Open as Layers in 3 Since the texture photo is bigger than the boathouse, you need to shrink it. Photoshop surrounds the texture with draggable resizing handles. To make ton and the modifier keys when the texture is the same height as the boathouse. Release your mouse button when a light gray line appears above the other layer.

To produce a vintage look from these two particular photos, Linear on your keyboard, and then tap the plus icon Light works well. Click the tiny triangles at the upper right of the Properties panel to close it. You see what appear to be marching ants surrounding the boathouse photo. Here you can see before top and after to tweak the texture opacity or the drop in bottom versions.

This is the color you get after mixing the base and blend colors using a layer blend mode. To illustrate this concept, you can draw yellow and blue circles on separate layers and then change the blend mode of the blue circle layer to Darken.

Another way to understand this concept is to put on a pair of sunglasses and then look around. The second, third, and fourth categories are the most useful for blending photos. The second category begins with Darken, as those modes darken or burn images.

When you use one of these modes, Photoshop compares the base and blend colors and keeps the darkest colors, so you end up with a darker image than you started with. White, and other light colors, may disappear. The third category begins with Lighten, as those modes lighten, or dodge, your image. Photoshop compares the base and blend color and keeps the lightest colors, so you end up with a lighter image than you started with. Black, and other dark colors, may disappear.

The fourth category begins with Overlay. You can think of these as contrast modes because they do a little darkening and a little lightening, and thus increase the contrast of your image. A layer mask is like digital masking tape in your own images along with stock photos.

You can use masks to hide layer content, which is a far more flexible Consider the possibili- approach than erasing deleting content. Photoshop adds the mask circled in the image on the next page to the right of the layer thumbnail. Since the mask you added is white, all the content of that particular layer is visible.

However, by adding black to the mask, you can hide part of the cat close-up photo, which effectively punches a hole through it so you can see the content on the layer underneath it. Notice the white brackets around the mask thumbnail. They indicate that the mask, not the layer content, is active, so whatever you do next happens to the mask.

If you want the next thing you do to happen to the layer content instead, click its thumbnail and the brackets appear around it instead. Then set the Size slider to around pixels. Adobe Photoshop CC and Lightroom CC for Photographers Classroom in a Book contains 11 lessons that cover the basics and beyond, from sorting your photos and adjusting tone and color to creating an HDR panorama and turning your photo into an oil painting.

You can follow the book from start to finish or choose only those lessons that interest you. Purchasing this book includes valuable online extras. The downloadable sample images are practice files, provided for your personal use in these lessons. You can buy them together through the Adobe Creative Cloud Photography plan or with a Creative Cloud complete membership, which also includes InDesign and more.

Why use both Lightroom and Photoshop The list of reasons for using both Lightroom CC and Photoshop CC in your workflow is lengthy, though most of it boils down to saving time in the manage- ment, editing, and preparation of your images for specific uses.

Using the pro- grams together means you can easily include your Photoshop masterpieces into Lightroom book, slideshow, print, and web projects. However, a closer look reveals that Lightroom and Photoshop differ in two As a result, Lightroom important ways: what they do and how they do it. Plus, Adobe broader and Photoshop is deeper. Photoshop, on the other hand, was designed for a single task: editing.

The term you captured in-camera. Although there are ways to edit a photo without harming is short for picture element. If you zoom it say, by using layers , Photoshop is a destructive editor—you can undo a cer- far enough in to an tain number of sequential edits while the document is open, but when you close image in Lightroom or the document, that ability vanishes.

You can think of layers as the ingredients on this pizza really! Although the pizza is made up of many layers the different toppings, sauces, and dough , you see a single image. The Layers panel, on the right, shows you an exploded view.

The contacts program is a database that points to a file containing an individual entry for each person you tell it about. Each record includes a Rolodex database and all the little cards a smorgasbord of image or video information, including where the file lives on records it contains. This essentially gives you unlimited sequential undos forever. The database editing previews of the images referenced aspect lets you work on multiple images at a time, too, as well as copy-specific by the Lightroom or all edits from one photo to many.

You can also use Lightroom to create print catalog on your desktop templates, photo books, slideshows, and web galleries, and you can include your computer. Photoshop documents in those projects. As you can see in this illustration, your Lightroom experience comprises many pieces and parts: your images wherever they live , the Lightroom application, the catalog, and a folder of presets. Lightroom automatically maintains the wonderfully large range of colors called color space and high bit depth that a raw file includes.

P Note: Color space refers to the range of colors available to work with. Bit depth refers to how many colors the image itself can contain. For example, JPEGs are 8-bit images that can contain different colors and tones in each of the three color channels: red, green, and blue. Raw images, on the other hand, can be , , or bit, and the latter would contain a whopping 65, different colors and tones in each channel.

Most of the controls are slider-based, highly discoverable, and logically arranged. Another reason is that raw files contain a wider range of colors and tones than JPEGs tones refers to luminosity information that you can think of as brightness values. For the mathematically curi- ous, 4 trillion colors and tones can theoretically be saved into a bit-per-channel raw file, whereas a maximum of 16 million colors can be saved into a standard 8-bit-per-channel JPEG.

Raw files can be , , or bit, depending on the camera. So using raw data in applications that can interpret it—say, Camera Raw, Photoshop, Lightroom, and so on—gives you far more editing flexibility because you have more data to work with and you can process that data however you want.

Raw files also let you change the color of light, called white balance, captured in the scene. That said, you can access the same sliders and local adjustment tools in Camera Raw or the Camera Raw filter, though that often requires an extra step.

These local tools make it easy to fix overexposed skies, add digital makeup, smooth skin, lighten teeth and wrinkles, enhance eyes, darken shiny areas, add extra sharpening to specific areas, and more. You can even add negative sharpening to a certain area to blur it! You even get opacity control so that you can dial back the strength of the change.

You can do all of that in Photoshop, but it can take longer because of the addi- tional steps required to do it nondestructively. You can also add sophisticated color tinting to the whole photo, or you can hand-paint certain areas with whatever color you want.

Once the images are combined or stitched, you can adjust tone and color using the global or local adjustment tools described earlier. You can also save a preset for almost anything you do in Lightroom, which can dramatically speed up your workflow. Presets can be applied during the import process, manually whenever you want, or when you export images.

Preset opportunities include, but are not limited to, adding copyright information; file-naming schemes; any settings in the Develop module; settings for all the local adjustment tools; template customizations for books, slideshows, print, and web projects; identity plates the branding that appears at the top left of the interface ; watermarks; exporting at certain sizes and in a specific file format; and uploading online.

Processing multiple photographs in Photoshop requires scripts, complex actions, or the use of Adobe Bridge. Further, Photoshop presets are mostly limited to tool setup. Now, is Lightroom better at everything than Photoshop?

Where Photoshop excels Photoshop is unmatched when it comes to creative editing and precise corrections. Same goes for swapping heads and eyes—say, to create a group photo where everyone is smiling or to fix eyeglass glare.

And if you want to manually merge images into an HDR, which can often greatly improve results, there are a couple of ways to do that in Photoshop. In Photoshop, this is called creating a selection, and the program includes several advanced methods for selecting an object in your photo, including tough stuff such as hair and fur.

When you use these technologically advanced tools, Photoshop intelligently analyzes surrounding pixels, or another area that you designate, in order to make the removal or repositioning as realis- tic as possible. Most of these incredible tools are also covered in Lesson 7. However, both of these fixes can result in empty corners due to the rotation, which may cause you to crop the image more aggressively than you want to.

Photoshop also includes sev- eral tools for creating custom illustrations, 3D text, and objects, and it sports a fairly impressive arsenal of video-editing tools. So if you want to incorporate one or more award-winning photos into a busi- ness card, postcard, or social media cover image that includes text, you need to send that imagery over to Photoshop. For example, you can map one photo to the contours and curves of another lizard skin, anyone?

Some of these tricks are covered in Lesson 8. The next few sections explain how to access the exercise files included with this book, as well as how to create a Lightroom catalog. Some photographers use a single catalog for all their Lightroom photo- graphs, and some use several.

It walks you through the process of importing files from a hard drive into Lightroom, using the Lesson 1 files as an example. However, The complete user documentation for Adobe Lightroom and Adobe Photoshop is with an active Internet available from the Help menu in each program. This content will display in your connection you can default web browser. This documentation provides quick access to summarized access the most up-to- date information. You can dismiss the tips if you wish by clicking the Close button x in the upper-right corner of the floating tips window.

Select the Turn Off Tips checkbox at the lower left to disable the tips for all of the Lightroom modules. In the Lightroom Help menu you can also access a list of keyboard shortcuts applicable to the current module. Help on the web You can also access the most comprehensive and up-to-date documentation on Lightroom and Photoshop via your default web browser.

Point your browser to helpx. Additional resources Adobe Lightroom CC and Photoshop CC for Photographers Classroom in a Book is not meant to replace the documentation that comes with either program or to be a comprehensive reference for every feature. Only the commands and options used in the lessons are explained in this book. Adobe Forums: forums. Adobe Creative Cloud Learn: helpx. Adobe TV: tv. Resources for educators: www. Find solutions for education at all levels, including free curricula that use an inte- grated approach to teaching Adobe software and that can be used to prepare for the Adobe Certified Associate exams.

A directory of AATCs is available at partners. If the Lesson 1 files are not already on your computer, download the Lesson 1 folder from your Account page at www. This is a great way different parts.

To create a complete Lightroom to accommodate an expanding photo collection. And because your programs need some free internal hard the Lightroom Presets drive space to function—Photoshop, especially—filling your hard drive with photos folder.

Although a single Lightroom catalog can access more than one hard drive, the simplest approach is to keep all your photos on one big, dedicated external drive tucked inside a meaningful folder structure. In that scenario, you could create a top-level folder on that drive, give it a name such as Photos, and then create subfolders inside of it that have a date or topic naming scheme. This approach has great benefits. For example, when you run out of space on that drive and you will , you can transfer your entire photo collection to a newer, bigger drive by moving only the top-level folder.

Although you can perform rudimentary video edits in Lightroom, you can do far more to video in Photoshop. Once you use the import process to tell Lightroom about your photos, you can see your folder structure in the Folders panel in the Library mod- ule.

However, once you tell Lightroom about your folder structure, leave it alone. If you already have an effective folder structure for your photos, you can continue to use it.

If not, take the time to build one now. This is far simpler than doing it in Lightroom using the Folders panel, especially if it involves moving thousands of files. In other words, your system needs to be scalable. Within the year-based folders, you can create subfolders for each shoot, named for the subject matter or the date the photos were taken or both. Importing photos into a Lightroom catalog P Note: Some Light- Before you can work with photos in Lightroom, you have to tell Lightroom they room users prefer to exist; you do this through the import process.

If you peek at the terminology used at the top of images. Your choices are jockey, that may work well for you. This option tells Lightroom to add a record and a preview for each image to the catalog while leaving the photos wherever they currently exist on your hard drive. Similar to Add, this option prompts Lightroom to add a record and pre- view of the image to the catalog; however, it also moves photos from one place on your drive to another.

That way, you know exactly where your photos live. For this reason, the insert the memory card next section focuses on adding photos to your Lightroom catalog, in lieu of copying. Since this catalog is empty, it automatically opens the Library module in Grid view wherein Lightroom displays your images as a grid of thumbnails.

Click the name of any folder to expand it so you can see its contents. Thumbnail previews of the photos in the Lesson 1 folder appear in the middle of the Import window. As you learned in the previous section, this tells Lightroom to add information about these photos to the catalog, but to leave the photos in the folders and on the drives where they currently reside.

Samsung uses it as the factory setting for its cameras too. Another benefit of DNG is that Lightroom uses it for Smart Previews, which let you sync your desktop catalog onto your mobile device for editing in Lightroom Mobile. For the purposes of this lesson, leave photos, it may be all the checkboxes turned on so that Lightroom adds all the files. If the File Handling panel is collapsed, click its header to all and then assess and expand it.

These relatively small previews are used to quickly display initial thumbnails in the Library module. The Minimal option uses the small, non-color-managed JPEG preview embedded in a file by your camera during capture.

It builds standard-sized previews during import that are useful for viewing photos in Loupe view in the Library module. There you can choose a size up to pixels on the long edge. Ideally, choose a stan- dard preview size that is equal to or slightly larger than the screen resolution of your monitor. However, previews take the longest time to import and are the largest in file size in the Previews.

Lightroom will rebuild the previews when you ask for them by zooming in. Smart Previews are also used to sync photos onto your mobile device for use in Lightroom Mobile. You can add keywords and apply Develop module presets that are spe- cific to individual photos later in the Library module.

In the New Preset dialog that appears, give the preset sure to include copy- right information, as a name, and then click Create. Lightroom adds the photos to your catalog with the settings you specified and closes the Import window.

Once finished, Lightroom activates the Preview Import collection in the Catalog panel at the upper left, and you see image previews in the middle of the work- space, as well as in the Filmstrip panel at the bottom. The next time you import your own photos, choose New from the Metadata menu in the Import window.

In the Copyright Status menu, choose Copyrighted. Scroll to the IPTC Creator section, enter any identifying information you wish to include, and then click Create to save it as a preset. To apply this copyright preset to photos as you import them, simply choose it from the Metadata menu. From the resulting ment workflow: The big menu, choose Synchronize Folder. Click Synchronize, and Lightroom adds them.

Its various panels and tools help you make short work of managing, assessing, and organizing your photos. In lapse or expand any panel by clicking its the Library module, you get source panels on the left and information panels name. To expand or on the right. Source panels Preview area Info panels By default, the Library module opens in Grid view, which is indicated by the icon circled in the toolbar below the preview area. This panel lets you control zoom level and which area of the photo is displayed in the preview area.

With the levels and lets you cycle Navigator set to Fit, you see a white border around the image in the Naviga- between them using tor panel. Once you zoom in say, using Fill or , the rectangle reduces in the Spacebar on your keyboard. To see another area of the photo, click within the rectangle your cur- between Fit and , sor turns into a crosshair , and then drag it to another.

Now tap the Spacebar to switch between those two choices. This panel gives you quick access to certain images in your catalog. This panel displays your hard drive s and folder system. The Folders panel creating collections. If you do, Lightroom will report the photos as Folders panel because missing.

If you need to rename, change your folder structure, or move pictures the changes you make around, use this panel to do it. That way, Lightroom can update the catalog to physically affect the reflect your changes.

Rename from the menu that appears. In the resulting dialog, enter a new name, and click Save. As mentioned earlier, think of Lightroom collections as albums. You can use it to export collections albums to photos to a hard drive or to upload them online to sites such as Facebook, organize them instead. Flickr, and so on.

A histogram is a collection of bar graphs representing the dark and been separated into same-color stacks. The light tones contained in each color channel of each pixel in your photo. Dark taller the stack, the values are shown on the left side of the histogram, and bright tones are shown more tiles you have of on the right side. The width of the histogram represents the full tonal range of that particular color.

The taller the bar graph, the more pixels you have at that particular brightness level in that color channel. The shorter the graph, the fewer pixels you have at that particular brightness level in that color channel.

This is a quick alternative to rent exposure value of that photo. This means each photo could end up with a going into the Develop different exposure value.

These two panels are related to keywords, which are descriptive tags you can apply to images in order to find them easier later on. Click the triangle again to reveal the panels. Once you click to hide a column of panels, they reopen whenever you move your cursor near them, and then they close when you mouse away from them. That way, the panels stay closed until you click within the outside border again.

To reveal them, press Tab again. Press L a second time and everything in your previews turns black, as shown here. Press L again to return to normal view.

To exit it, press F again. This is the most often used keyboard shortcut in all of Lightroom! In this mode, only one panel is expanded at a time; the rest of them remain collapsed. When you click another panel, the one that was open collapses and the new one expands. This keeps you from having to scroll through a slew of open panels to find the one you want to use. Once you activate Solo mode, the solid gray panel triangles are filled with dots, as shown here on the right.

E Tip: To change the You can customize how your image previews are displayed too. Straight from size of the thumbnail the factory, the Library module uses Grid view, wherein resizable thumbnails are previews, use the displayed in a grid. If you peek at the Library module toolbar beneath the preview Thumbnail slider beneath the previews. This option enlarges the selected thumbnail so that it fits within the keyboard to decrease preview area, however large the preview area currently is.

For a side-by-side comparison of one image with another— say, to determine which one is the most sharp—use this option. Press the Spacebar to enter Loupe mode, click within the image on the left called the select photo , and then drag to pan around and examine details your cursor turns into a hand. As you reposition one photo, the other one the candidate matches its position. To exit Compare candidate to select by view, click its icon again or press G to return to Grid view. The candidate is marked by a black diamond.

Lightroom grabs the next image in the Filmstrip panel and displays it on the right as the candidate so that you can repeat the process. This is a great way to find the best photo of a bunch, especially if you shoot in burst mode. This option lets you compare multiple images side by side. To use it, select three or more thumbnails, and then either click the Survey icon it has three tiny rectangles inside it with three dots or press N on your keyboard.

You can also drag to rearrange photos in the preview area while sur- veying them. When you find the photo you like the best, point your cursor at it, and mark it as a pick by clicking the tiny flag icon that appears at its lower left.

To exit Survey view, click its icon again or press G to return to Grid view. The next section teaches you a simple strategy for assessing and culling photos. In the resulting dialog, pick a naming scheme; Custom Name — Sequence is a good one because it gives you the opportunity to enter something descriptive into the Custom Text field say, Smith wedding In this case, enter Maui trip The only way to under- stand this admittedly confusing concept is to try it yourself using these steps: 1 In Grid view of the Library module, click anywhere on the first thumbnail preview to select it.

Alter- natively, you can Shift-click the third thumbnail to also select the one in between. In this case, clicking directly atop the image in the second preview switched the most selected status from the first to the second thumbnail shown here in the middle. The result is different than it was in step 2. Clicking the frame, rather than the image, in the second preview left only the second preview selected and deselected the other two previews shown here in the bottom strip.

The takeaway here is that routinely clicking the frame rather than the image in a thumbnail will allow you to avoid being surprised by the less common behavior you saw in step 2. At the bottom of the dialog, Lightroom shows you what your naming scheme looks like. If you peek at the top left of the interface, you see a status bar. The next section teaches you about another great habit to create after importing images: assessing and culling them.

Organizing your photos Lightroom gives you many ways to mark your photos, which makes them easier to organize. For example, you can rate them with one to five stars, give them color labels, or give them two kinds of flags Pick and Reject.

Lightroom also lets you filter your photos for each marker or a combination of them , making certain photos easy to round up. Applying markers You can apply markers in several ways.

To apply the marker, click a thumbnail. Press P to flag an image as a pick one that you want to keep , press X to flag it as a reject, and press U to unflag an image. Press 1—5 on your keyboard to rate an image as 1—5 stars. Press 0 to remove the star rating.

 
 

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You will have room for approximately 20, raw images or , JPEGs. As of , this plan also comes with the Photoshop iPad app. If you only want to backup your images, there are less expensive online storage options. Photographers who also edit videos will often add a Premiere Rush subscription. For more advanced videos, use Premiere Pro. The Premiere Rush plan includes GB of cloud storage. You will get programs for editing video, audio, graphics, webpages, text, and photos.

This plan includes GB of cloud storage. For most products, the price is the same regardless of whether you pay per month or prepay for the year. You can get a 7-day free trial for the Lightroom plan, both Photography plans or the All Apps plan.

Students and teachers can get special pricing on the All Apps plan. You do need proof of your educational status and a school email account. Photoshop Elements is the only Adobe photo editing program that you can buy without a subscription. It is more like Photoshop than Lightroom. But if you want a photo editing program that you can buy once and use forever, this is it. You also get Photoshop in both the desktop and mobile versions. If you have no interest in using Photoshop but want the extra storage, get the single app plan.

You can add a program like Premiere Rush to your plan if you edit a lot of video footage. You can no longer buy Lightroom as a standalone program and own it forever. To access Lightroom, you must subscribe to a plan. If you stop your plan, you will lose access to the program and the images you have stored in the cloud.

Want to become a master in editing with Lightroom? Why not check out our course Effortless Editing with Lightroom next! Set the same exposure across multiple photos perfect for bracketing. Created by John Downer in , this font was roughly based on The Cole Brothers circus show posters from the beginning of the 20th century. This one is on my must-have list of Photoshop fonts. It was very popular in the 80s when it could be found on the cover of Choose Your Own Adventure books.

The designer drew his inspiration from the Art Nouveau movement. Thus, the typeface has tall x-height and capitals with a higher waistline. The font family includes three different weights, matching italics and condensed fonts.

This Creative Cloud font is great for creating the s vibe in your projects. Futura was created by Paul Renner in and is now also included with the free Adobe fonts. This is a very graphic sans-serif font, which was very unconventional at the time of its creation. Its popularity has never really faded over the years. It was a typeface of choice for Stanley Kubrick and is now for Wes Anderson.

Also, it has been used in Volkswagen ads since the 60s. This is a serif typeface that dates way back to the 16th century. The original inspiration for this Creative Cloud font came from a font created by Robert Granjon.

The name of the font is the last name of a Renaissance book printer. The first design of Plantin appeared in and later influenced the creation of Times New Roman. Baskerville font was created by John Baskerville back in the 18th century. The original intention behind its design was the need to improve the appearance of William Caslon typefaces. The italic option of this font has beautiful symbols.

Add it to your Adobe Photoshop font list to use it for whimsical and quaint logos. The most popular font today is probably Helvetica.

It can be seen everywhere in the digital world. This Creative Cloud font, Neue Haas Grotesk, was a way to bring back the original look of Helvetica the name of the font is actually the original name of Helvetica typeface. Big Caslon was designed in an attempt to revive Caslon typeface. It was created by Matthew Carter in and was the first digitally available size version display of Caslon. This free Adobe Fonts typeface should be used starting from size 18 and above.

This grotesque sans-serif font is one of the more recent designs. It was created by Dalton Maag in and was intended to compete with Helvetica. This Creative Cloud font will be great for web design. In October , Typekit changed its name to Adobe Fonts. The service has improved tremendously since the renaming. The limits for desktop sync and pageview were removed, the same goes for the web-only fonts. Moreover, literally thousands of new fonts became available, which includes Font Bureau typefaces and Adobe Originals library.

Learn More. App Store Preview. Screenshots iPhone Apple TV. Description Video editing is now available! Jul 18, Version 7. Ratings and Reviews. Video Editing Now Available. The premium addition of video editing lets you trim videos and edit them with the same tools you use on your photos. App Privacy. Information Seller Adobe Inc. Size Compatibility iPhone Requires iOS All Rights Reserved. Price Free. Data is encrypted in transit.

You can request that data be deleted. Great tools for editing, but unfortunately does not give you access to all the photo folders on your phone. I am using a Google pixel, so maybe it’s a unique issue. I just want to edit pictures I’ve downloaded from various apps and re-share them, and in most cases I cannot seem to find the newly downloaded images from within the app.

 

Adobe Photoshop CC and Lightroom CC for Photographers Classroom in a Book, Second Edition [Book]

 
This mode prompts Lightroom to copy and paste pixels with no automatic blending. You can try this on your own by removing the tour- ists from the lower-left corner of the Pompeii ruins exercise file. Within lightrom year-based folders, you can create subfolders for each shoot, named for the subject matter ссылка adobe lightroom cc and photoshop cc for photographers pdf free date the photos were taken or both. Clicking Use Anyway dismisses the warning and allows you to use the same version of Photoshop—with different settings—as both an additional external editor and the primary external editor both of which are available via a keyboard shortcut. For U. Edit In menu.

 
 

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Aug 25,  · The Adobe Lightroom 6/CC Guide contains 14 chapters and is available as a free downloadable e-book in PDF format. It’s a series of solid intro­ductory tutorials designed to help you, as a new user or beginner, get started with Lightroom and learn the basics, while avoiding the most frequent problems. The previous edition of the book for. Features: Availability: Instant download after purchase. The download will never be expired or revoked. Accessibility: Store the ebook on any smart device, read it at anytime and from anywhere, even without network. Searchability: Search across content simply by using your PDF Reader’s search tool. Readability: Vector fonts enable diagonal lines in the rendered glyphs . CC Free Download ‎Adobe Lightroom: Photo Editor on the App Store 7/10 ( votes) – Download Adobe Photoshop Lightroom Free. Download Adobe Photoshop Lightroom and try out this application that allows you to complete the entire photography process, from editing to printing. If you like photography, start using professional.